perfect way to describe that scene

  • What she says: I'm fine.
  • What she means: Okay, but Allura never got to finish saying what the Blue Lion's qualities are? Why would she just skip over Lance?! Okay, yeah, he interrupted her, but what was she going to say? Will we ever know? Will the characters ever know? What if she was going to say something about how attached/close the blue paladin can get to people? What if it had something to do with Lance's insecurities? Maybe the blue paladin is supposed to be the confident one, so Allura felt like she didn't need to explain herself? I HONESTLY NEED TO KNOW LIKE IF THIS IS NOT ADDRESSED IN SEASON THREE I WILL RIOT because I need a scene where someone (preferably Keith because Ship™) asks Allura all casual, "oh yeah, what were you about to say?" and it ends up being this extremely deep thing that they all realize describes Lance perfectly and I just hate that Lance got completely glossed over about why he should pilot the blue lion and mAYBE IF ALLURA TOLD HIM WHY HE WAS PERFECT FOR THE ROLE HE WOULDN'T DOUBT HIMSELF SO MUCH. I think about this way too much. I am so distressed.
So let’s talk about Sasha’s climactic scene

And why the Attack on Titan anime adaptation once again proves itself to be incredible. 

Sasha reading her bow and telling the kid to keep going is an amazing moment in the manga already–Isa deserves all the credit here. In the og flashback, Sasha refuses to abandon her principles just because outsiders are in trouble, she refuses to help them; a perhaps egocentric, but also human point of view-we tend to prioritize us and those closest to us over strangers. Then, in the current time, Sasha tells the kid to run bc she’ll certainly find kind and helpful people ahead; and stays herself behind to fight; she fights knowing that proper victory cannot be achieved, to save a random stranger; a kid, further emphasising that Sasha herself has grown into a great person and abandoned that egocentric child she once was.

It’s great stuff, but the animated execution of it made me realize just how good it actually is.

In the yumikuri flashback the S1 version of counterattack mankind starts…its positive a track expressing a sense of optimism and peace, it suits the “ordinary moments” she thinks about. Then, we cut back to present time. A newer arrangement of the track, led by faint strings with hints of an organ in the background–there’s a distant but growing intensity in there. 

As Sasha talks to the kid, most of it is shot from the kid’s perspective, so we get to look up to Sasha–she’s seen as the grown up here, perfectly fitting the above characterization. In the meantime, the music grows ever stronger-the organ is very present, and drums are added too. The buildup to the sequence is thus heavily emphasized. Also, listen carefully to Kobayshi Yuu (who’s performance here I loved). There’s definitely exasperation in her voice–they’ve been running for some time and are chased by a titan, not to mention that she’s afraid. Yet, you can still find a lot of tenderness in there–the kid is supposed to feel safe and secure, despite everything going on, and it just makes you love Sasha even more.

Let’s get to the real meat

I LOOOOVE this scene. Sasha spinning on her feet to stop and get into position looks really cool…but its’ the following take that I adore the most

The spin kills her entire momentum…she stands still and ready, and the camera lingers on her. But the kid didn’t do any spin, kid’s still going, not slowing down. Sasha however wants kid to keep going, seems to use her spin as a way to propel kid forward. And the moment her arm is separated from kid, the camera moves on as well–doing so, Sasha’s staying-behind-to-fight is visually translated and further emphasized without the viewer consciously realizing it. I have a hard time describing it, but there’s an incredibly powerful sense of organic dynamism in there that just sells the scene. It’s excellent visual storytelling, not only of the situation, but also of Sasha’s character–she’s strong and altruistic now, and she’ll fight against all odds to save the kid in need. Yuu’s performance here is perfect as well–there’s now definitive desperation to be heard, alongside remaining hints of kindness but also a certain intensity. Sasha is afraid–she has no equipment to protect herself, she has no weapons to eliminate the threat, but in spite of that, she still sends the kid away, she still stays behind, she still stands in the way of the titan. 

And THAT shows just how brave she is–Sasha overcomes her weaknesses, she fights against all odds, she dedicates her heart–and that is what the anime manages to portray so masterfully here.

And of course, that is what the best shot of the episode does.

We get an incredibly gorgeous wide shot…starting off once again from below, keeping both the titan and Sasha in frame, reminding us of the threat ahead of her, but in one amazing panning zoom, we fly all the way to a closeup filled with nothing but fierceness. The visual alone is amazing in its own regard, but the sound is what truly rounds it up. Counterattack Mankind A reaches its climax, going all out on instruments, cue-ing the all-so-familiar melody in an immensely epic arrangement worthy of the scene it accompanies. Kobayashi Yuu 100% sells it too–her first “now-go” is still a bit feeble and unsure as mentioned above, the 2nd “run” already stronger but there are still hints of fear….and then, with the musical cue behind, after getting a full frontal close-up–the all out “get runnin’!”, filled with nothing but raw energy and determination–Sasha’s abandoned all fear and is in all out character-climax-badass mode. Her shout echoes through the woods, the kid is literally hit by a shockwave and finally starts running (sidenote–her eyes were dark and lifeless throughout the ep, but only after that do they lighten up, adding once more weight to Sasha’s moment). And of course, Sasha’s accent arc comes to full circle in the same frame as well, as she yells the command out in her native dialect she’s tried to hide for so long. Pretty much everything that could’ve come full circle did–in terms of writing, performance, sound and visuals.

It’s an amazing sequence deserving of ludicrous praise for the creative staff–they’ve proven once more that Attack on Titan is a work of art. The manga is already without a doubt amazing–most of the points above stem from it after all-but the anime is so ridiculously good at presenting I sometimes can’t believe it with my own two eyes.

In case you couldn’t tell, I fucking loved this sequence and I’m gonna yell about Sasha all week long. 

hips-bef0re-hands  asked:

Perfect (realistic for Fox) sex scene during season 11?.... Describe!

Oh gosh there are so many options. But here’s one that I’ve often pictured:

set mid-colonization arc, mulder and scully have been separated in the midst of danger/fighting and we spend most of the episode watching them kick alien ass to get to the rendezvous point they agreed on in the beginning. of course they’re on their way to william, so that’s certainly part of the heightened emotions. scully gets to the abandoned old house first, mulder is nowhere to be seen, scully waits for hours until we hear him yell his trademark scullay!!! and burst through the door. they stare at each other for a minute, battered and bruised, and then surge into a kiss - the first one of the season - and it escalates quickly. they shed a little clothing, kiss all the way into a bedroom, and mulder kicks the door shut behind him. the very next scene opens with them in bed together the next morning, naked under the sheets.

i think that’s a fair compromise, no?

Em Reads

After being in a writing hole the last month I finally started reading regularly again.  Yay!  So, I thought I’d put together a list of what I’ve been loving.  I don’t know if this’ll be a regular thing, but here we go!

The Beginning at the End @wheresthekillswitch

This is an OFC series and it’s amazing.  It has a all the best stuff; smut, angst and witty banter.  Lee has done a brilliant job inserting the character into the storyline.  Plus the OFC is a badass and I love her.

It’s About Damn Time  @eyes-of-a-disney-princess

This fic is a dream come true!  It’s a Dean x Reader pairing and it’s got everything; a hint of angst, action and some serious smutty AMAZINGNESS.  The way Ash writes Dean is perfection.  Go now.

Bite Me @trexrambling

This is another series with a badass hunter reader.  This one is a slow burn and it’s been brilliant so far.  Jess has a way with words that I will forever strive to achieve.

Bad Blood @pinknerdpanda

I’m usually a straight up Dean girl, but this Roy/Benny x Reader series is fantastic.  Manda can describe a scene so well that I feel like I could reach out and touch it.  It’s angsty, smutty goodness and I can’t wait to read what’s next.

Lips of an Angel    @sis-tafics

I’m a fluffy bunny by nature.  I cry watching commercials, ok?  But Jill’s angst is so perfectly bittersweet that I just can’t get enough.  This series is slowly building and I’m loving every moment.

Kill Zone  @thing-you-do-with-that-thing

The is an AU series with a Sniper/Ranger Dean and FBI reader.  I may be a little too obsessed with this series.  It’s got everything I love badass reader (noticing a theme yet people?), grumpy Dean, mystery and smut.  I live for the updates on this one.

The Arrangement  @ravengirl94

I was late to the party on this one, but oh my god I am so glad I found it!  I kinda want to live as this reader in this AU forever.  It is so well written and thought out.  Emily does an amazing job of keeping Dean, Dean while still creating this entirely new world.

Stripped  @dancingalone21

I’m a DEAN girl, but I’ve been reading more and more Jensen fics and this one has me all kinds of excited.  It’s an AU with Rockstar!Jensen and PR Reader.  I love the setup and the take-no-shit reader.  I can’t wait to see where this one goes.

Pretty Bird  @yourewelcomeforbeingmyfriend

Sarah is an author I just discovered and this fic was beautifully written.  It’s a sweet and heartbreaking sister!winchester story.  Go check her out.

Hunting Ground  @luci-in-trenchcoats

This is another AU with a suspect!Dean and cop!reader.  I only just started this one but I LOVE the reader already and the mystery and I can’t wait to find out what happens.

This is a new thing for me to put together so let me know how you like it!  And go read all of these fantastic stories!

I think for us, what made it compelling, is the cruelty of it. It is so clearly designed to tell a story about Rogers’ capacity for violence and his dominance over them, in what was meant to be a very bloody victory for him. I think what became complicated for us was, not only did it need to do all the things Dan mentioned in being a big noisy death for Teach but it was also important somehow that Teach save Rackham’s life. In a moment where Teach is bound and mostly dead and lacking really any agency, that was hard to do. This idea that just by not dying he saves Rackham’s life felt right. And I think as a Rogers story it was interesting in that Rogers thinks that he’s the star of the show and thinks he’s the one everyone’s going to be talking about tomorrow. And just by not dying, Teach becomes the star of the show and kind of makes him a hero in the moment when he’s supposed to be a prop. You understand why Rogers has to walk away and cut his losses and risk losing the narrative he was trying to tell.
— 

Jonathan E. Steinberg, about that scene

There are some great quotes in this interview, but this is one of two specific ones I want to talk about.

I love this quote. Because it shows that the creators understand the point of having such a gruesome scene. It is there to bring the story forward, which is great, and highlight the cruelty of Rogers in a way which had not yet been made clear to us. 

But, as they say, it’s also fundamentally about agency.

Agency is a word we use a lot on tumblr when discussing in fandom. Usually it’s applied to female characters’ narrative and how they’re handled. But here it is also an absolutely perfect word to describe what is going on.

In a scene where Rogers should have all the agency, all the power, Teach takes command of the narrative. Through doing that, he ends up saving Rackham and probably most of the crew. 

Rogers was so sure of how this would go, and the longer he drags it out, the more he loses control of it. Teach might be bound and tortured, but by every round of it he survives, he’s taking agency away from Rogers in front of all his men. In the end, Rogers can’t continue without completely losing every ounce of credibility he had. Him shooting Teach is a victory for Teach. Teach was in command the entire time at the end. He forced Rogers to admit defeat by going up and shooting him. He also stopped Rogers, whether knowingly or not but simply by persisting, from doing the same to the rest, and to Rackham specifically, because Rogers would not have been able to withstand another failure like that. Rogers was drained of all his will to show off how in power he was. 

It reminded me of that scene in Jesus Christ Superstar (yes, I just made that reference), where Pilate orders the flogging of Jesus, and the longer he goes on the more painful it becomes for himself, in the end it’s even hard for the person flogging. Not to say Blackbeard is Jesus, and Woodes Rogers is far from Pilate, or showing any of the complicated emotions afterwards that he does, but he was very close to making Teach a martyr.

What was supposed to be his big victory turned into something small and insignificant that only made Blackbeard’s legend greater. The gore and horror in that scene worked not for shock but to highlight for us as an audience both to what length Rogers was willing to go out of desperation, and how badly Rogers was losing, because Teach pulled through. What was supposed to be a power demonstration turned into a demonstration of weakness. 

I totally understand being grossed out by that scene. Having a hard time watching it. But to me, it didn’t feel gratuitous. They highlight to us that this type of violence is not normal, it’s not by the book, and they do this through the horrified looks and silent acting from those standing around. These characters who’ve done terrible things are all standing around and looking in disgust and horror. They did it to bring the plot forward, to tell us something of these characters we didn’t know, and to make a point about taking the agency from the person who should have all the agency in the room, even when going through something like that.

That’s how you pull of a scene like that. 

Japril the Sequel: a portrait

This episode truly epitomizes everything I love about Jackson and April. All of their conversations, their looks, their body language is so grade A, wholesome Japril in every single way. Even when they are fighting and absolutely terrible to each other, all their interactions are so effortless and organic but heart-pounding and passionate and you cannot help but long for them to be together. Simple as that. 

I love how the episode started and ended with Japriet. I think it really focuses on the point that they are parents and partners for this beautiful baby before anything. Harriet represents their past, present, and future all in one. All of their petty little disputes melt away once they realize they are a family. They are a unit. 

I love how this episode showed their working relationship. This is one of my favorite and somewhat underrated parts about Japril. Jackson and April come from the same class and the same training and have helped each other become what they are today. We have really seen them through it all: starting off as residents, taking their boards, becoming attendings. And now they are surgeons who are taking the lead and saving lives. The scene where they are brainstorming about surgeries while talking about Jackson’s dad was brilliant. It really showcases how seamless their conversations are and how they are apart of each other’s life in every single way. 

And the hotel. Oh my god the hotel. I could go on for days about that 2 minute scene. To start, the callback to walking down the hall from their first time was perfect. It was so old-school Japril that I didn’t even realize I was missing. You could FEEL something was going to go down. When he gave her that smirk and started walking towards her, closer and closer, I could literally feel the heat radiating from the screen. JUST FROM HIM WALKING TOWARD HER. They were getting lost in each other and couldn’t even form real sentences because of the anticipation. The way he looks at her can’t be described into words. It’s honestly pure chemistry. It’s I love you, I want you, I need you all in one look. And the way April responds to him has never changed. She is putty. Her eyes are sparking and searching and her face is flushed. Within seconds their fire was back. Their physicality is what makes them real and undeniable as a couple on screen. If anyone has any doubts about the attraction between them after the divorce, here you go. 

I never gave up on Japril, but this episode revived me. It was so worth the wait and the suffering we’ve been through. It reminded me of everything I love about their friendship and romance and gave me so much hope for the future. And yes, I am 100% positive that JAPRIL WILL RISE. 

Telepathy in scifi is usually handled in one of two ways - either it’s a straightforward talking in someone else’s head in italics, or it’s having your eyes closed with a hand on your temple and Feeling Very Strongly about something. 

I was watching a scene in a TV series where a couple of people were gesturing to each other subtly across a crowded room with their hands and faces, and wondering if there couldn’t be another way of describing a telepathic connection right there. Maybe telepathy wouldn’t just be Words In Head of Strong Feels, but rather like a nonverbal communication, like gesturing and expressions - a perfect and nuanced understanding of a person’s body language, even outside of the line of sight.

This way, it wouldn’t replace spoken communication, but it also wouldn’t have to be the clunky “I feel much pain and fear in you”-type of telepathy where the character is basically a soundboard for other characters’ emotions.

Thalia’s Writing Masterlist

 Okay, so I’ve been collecting all of these posts on writing since a while back and my babe @dans34 needed help, so I decided to make a masterlist! I’ll be updating it whenever I find something new. I know it’s not a lot, but hey, it might work for someone!

Websites and charts

Mendeley

Zen writer

Wolfram Alpha

Charahub

Hemingway

Apps for writers

The NaNoWriMo Survival guide

Writing Advice Masterpost

Awesome sites and links for writers

Software and tools master post

Character cheat sheet

Plotting made simple

Stages of grief

Descriptions

How to show (not tell) your character’s appearance

Writing tip on how to describe eyes

Describing characters of color

How to make a character’s death sadder

Writing with color

Different types of fractures

Grammar

Resisting extravagant verbosity

Words to use more often

Tone Vocabulary list

Word definitions/ synonyms and antonyms/ words that rhyme with other words (useful af, trust me)

Writing tips

How to write the perfect ending

Writing advice you’re not going to like

Which scenes to cut

Nine ways to make the readers care

Friends, not love interests

Reaserch your big five

Hellish and Dystopian worlds

What to do when you’re stuck writing a scene

A smattering of stupid writing tips

Top ten writing tips from ‘Game of Thrones’ author George R. R. Martin

Creating a character

Creating OC’s

Core values

123 ideas for Character Flaws

How to name a character effectively

Things you should know about your characters

Help on how to write any type of character

How to make a character likable

Clothing from any era

Fantasy/historical clothing designs

Masterpost for writers creating their own worlds/characters

Generators

Random generators (for deaths, cities, names, etc.)

So you want to make a character

Character trait generator

Fantasy Girl Generator

Prompts

Writing prompt list #3 (has about 95 prompts)

Drabble prompts

Halloween one line

Obscure word prompts

AUs

AUs masterlist (divided in different themes)

Trashy AUs

Airplane AUs

Cute AUs

Meet ugly AUs

Car/Motorcycle AUs

Music/Background Sounds

Music to keep you focused

Kingdom Hearts II: Passion Kingdom Orchestra

MyNoise

Sounds to soothe anxiety

Miscellaneous

How to google it

hello guys!!! this is part 3 of my english language masterposts all about narrative + descriptive essays to help you out, enjoy :]

  • consists of a series of events, either imaginary or based on your own experience, in a vivid descriptive style
  • may be written in the first person [I/we] or in the third person [he/she, etc] + often includes the thoughts, reactions etc of the main character[s], describing the action as if seen through their eyes.

a good narrative should consist of:

  • an introduction which sets the scene to create an interesting mood/atmosphere to make the reader want to continue reading, and/or begins dramatically to capture the reader’s attention [mystery/suspense]
  • a main body which develops the series of events clearly, gives vivid descriptions of the people/places involved etc..
  • a conclusion which completes the story perhaps in an unexpected way. may describe people’s feelings/reactions, the consequences of what happened etc…

points to consider:

  • before starting to write, consider a suitable story outline, then a detailed plot [use what, who, when, why, + how]
  • writing techniques include the use of vivid description of people, places, objects etc
  • narratives usually occur in the past therefore you should use a variety of past tenses [eg: past continuous sets the scene, past simple is used for main events, past perfect is used to describe an event before the main event[s]
  • consider the sequence of events + use time words such as: before, after, then, in the beginning, later, in the end, until, while etc…

1. describing people

should consist of:

  • an introduction giving brief information about who the person is, where/how you met them, how you heard about them etc…
  • a main body which may include descriptions of physical appearance, personality/behaviour, manner/mannerisms, and/or details of the person’s life/lifestyle [hobbies, interests, everyday activities etc…]
  • a conclusion in which you comment on why the person is of interest, express your feelings/opinions concerning the person, etc…
  • you may also be asked to explain why this person is successful/admirable/unusual
  • start each paragraph with a topic sentence which summarises the paragraph

points to consider:

  • to describe physical appearance, give details of a person’s height/build, age, facial features, hair, clothing etc…moving from general to specific
  • to describe personality + behaviour, support your description with examples of manner and mannerisms
  • to describe life, lifestyle + beliefs, you should talk about the person’s habits, interests, profession, daily routine, opinions, etc…
  • if the title of the essay asks you to describe a person related to the present [eg: a person who is unusual] describe the person in present tenses + vice versa with titles that mention the past
  • the use of descriptive vocabulary and a variety of linking words + structures make your writing more interesting so use them!!
  • make sure you interpret the task well, do not describe every aspect of a person + make sure to not ignore the key words

2. describing places/buildings

should consist of:

  • an introduction giving brief information about the name + location of the place/building stating the reason why you chose to write about it
  • a main body giving both general and specific details about the place [moving from general features to specific ones]. refer to landscape, buildings, landmarks etc.. to give the overall impression of the place then give a detailed description of surroundings
  • a conclusion in which your express your feelings/opinions concerning the subject + give a recommendation
  • you may also be asked to explain why a particular place is important for you

points to consider:

  • descriptions of places/buildings may include factual information such as age, size, colour, materials etc…, details relating to the senses to suggest mood/atmosphere + opinions/impressions of the place
  • each aspect should be presented in a separate paragraph with a clear topic sentence
  • present tenses are normally used when writing for a tourist brochure/magazine article. past tenses are used when describing a visit to a place/building. first + second conditionals [will/would] can be used when you describe your ideal city/house etc… + use the present when giving factual information about a place

3. describing objects

  • give accurate information concerning the size + weight, shape, pattern + decoration, colour, origin and material. you can give necessary information in separate sentences

4. describing festivals/events/ceremonies

should consist of:

  • an introduction in which you mention the name/type, time/date, place + reason for celebration
  • a main body where you describe preparations for the event + the event itself
  • a conclusion where you describe people’s feelings or comments on the event

points to consider:

  • when you describe annual events, present tense is used + style is formal
  • however, when giving an account of an event you witnessed or took part in, past tenses are used + style can be less formal. the passive is frequently used to describe preparations/activities which take place
  • use descriptive vocabulary to set the scene + describe the atmosphere

+ my masterposts:

hope this helps some more of you with your essays, my dears <3 let me know if i can help with anything else 

-helena xx

TIPS FOR WRITING (FANFIC OR OTHERWISE)

Hello everyone!!! I’ve been meaning to make this for a while now, and I feel like it may help some people!! Obviously everyone’s writing technique is different, but I think that making a few technical changes can really help people and let individual style shine through even brighter! These are all guidelines I personally like to follow (I’m an editing major @ uni so I’m 200% a nerd) but in no way does this mean you have to. Please keep this in mind! 

Keep reading

anonymous asked:

this is sort of hard to explain but i noticed that it's hard for me to come up with interesting descriptions around dialogue? if that makes sense? like i can write descriptions when they're in their own chunks but I have trouble interweaving it with dialogue. such as coming up with what the characters are thinking/doing while they talk or just throwing in descriptions in the middle. my mind goes blank and it ends up just being dialogue and dialogue tags.

Thanks for your question, anon!  This is an important skill to hone, so I’ll try to help you to the best of my abilities.  I’m actually pretty excited to talk about this… :)

Originally posted by allreactions


Action Accompanying Dialogue

The subject of describing action around dialogue is one I find interesting, because there are multiple schools of thought – one going so far to say that dialogue is best left alone, with no descriptors beyond dialogue tags and name drops.  This is something I’ve seen in a lot of classic American literature, and I don’t favor it, personally.  Description is a valuable part of dialogue-heavy scenes, as long as it’s used intelligently.  How do we do that?

1. Use common actions sparingly.

Common actions – such as biting of the lip, shifting weight, narrowing eyes, furrowing brow, etc. – are the basest physical “tells” that are used in prose by default.  They’re likely the descriptors you’ve read most in fiction, which is why you need to avoid them.  Only if it’s a particularly telling action (e.g. if your character is talking about how happy they are, while they bite on the inside of their cheek) should you use common visuals like these.

2. Do not verbally express what can be physically expressed.

If Hannah is made uncomfortable by Kirk’s sexual advances, don’t have her think to herself, “Why is he so close to me?  Can he just back off?  I’m obviously not interested in him!”  Instead, use your show powers by having her neck muscles twinge from how far back she’s leaning.  Have her subtly tug the edge of her shirt down.  Observe the way his shoes inch slowly towards hers.  Make Hannah (and the reader) over-conscious of every visible freckle on his nose, and the jolting sensation of his jacket brushing against her arm.  Sprinkle these details between pieces of dialogue, slowly, one at a time as Hannah is noticing them.  Don’t give it all away too quickly, but keep a steady stream of increasing discomfort throughout the scene.  Which leads me to my next point…

3. Describe only the actions that the POV character notices.

Forget everything that happens in the room, and focus on how the situation looks from your character’s perspective.  So if Lauren is focused on her needlework as she’s speaking, interweave brief, distracted dialogue with long, winding descriptions of her work.  If James is watching the news while Ethan talks about his day, James will not notice the frustrated way Ethan pulls a chair out – he’ll be thinking about the news story he’s witnessing.  So James’s thoughts and body language will be in reaction to the news, not to Ethan’s angry spiel.

4. Describe thoughts and actions as close as possible to real time.

If Robin and Howard are carrying a couch up the stairs of their apartment complex, this will go on for a while – but when Howard kicks their door open, it should be described quickly: “Howard kicked the door open.”  If you go too long on the details (e.g. “Howard kicked the door open, revealing their living room in all its glory, dim from the sunset glowing through the glass door and warm in contrast to the winter air against their backs.”) then you take the reader out of the current action, making the rest of the scene, essentially, buffer.

5. Place description strategically around dialogue.

The best place for description is at natural breaks in dialogue, else you break up the continuity of your scene.  If there is a long pause between two topics, use this time to describe body language and possible thoughts.  If a conversation is fast-paced, be very brief and sparse with any description so as not to interrupt the action.  If a character says one sentence, then pauses for a moment to think before speaking again, use description to fill the silence.  Be thoughtful of your timing as well as your content.

6. Sometimes, description is better than dialogue.

Now this one’s a bit controversial, but I stand firm in my opinion of it.  Some writers will tell you that if a thought can be communicated in dialogue rather than description, that’s what you should do – but I disagree.  Many thoughts and actions occur in real life that aren’t explicitly spoken.  Sometimes it is better to have Sarah hold her breath and roll her eyes, rather than say, “Oh, would you get a load of this bullsh*t.  No one’s buying this, Barbara!  And that hair color is ridiculous!”  Not all characters are brazen and outspoken.  People do a lot of just thinking, and their bodies do more subconscious thinking than that!  Gauge your POV’s personality and follow their lead.  Use external dialogue, internal dialogue, and description as three equally powerful but unique tools.


Remember these six points as you’re roughing your way through dialogue-heavy scenes, and remember that if it feels unnatural at first, practice makes perfect.  Just think about all the senses, and how to describe them in the quickest, most immersive way possible.  Visualize the scene in your head as you’re writing it, and others will see it, too.


If you need advice on general writing or fanfiction, you should maybe ask me!

floofybubblez  asked:

Dude, I'm doing an rp with someone and my rping in the scene just went from very casual to dESCRIBING EVERYTHING IN THE PERFECT WAY THAT MAKES ME LIKE 'HOT DAMN!! DID I REALLY WRITE THIS!?!?' AND I'M DYING RN HELP ME OUT BROSLI

ive never rly rped that much but im guesssin thats p good. hope ur havin fun w that rp brosli

tolcveistodestrcy  asked:

Since people keep telling you what parts of your stories haunt them, I can say two things: The piano scene and the conversation Newt and Gellert have afterwards keeps repeating itself in my head. Especially the way you described Sire Gellert. How dare you?! This describtion is freaking perfect.

@tolcveistodestrcy THANK YOU SO MUCH, I’m still just so, so, so happy that you liked how that request fill turned out because I really, really wanted to capture and give justice to the lovely and vivid universe you had built. <3

Akiba’s Beat - Localization Blog #1 - Voiceover Special!

All right. So! Guessing you’ve all heard the news by now, but indeed, it’s true: Akiba’s Beat…

(1) …not only is getting a dub, but has already been fully dubbed with English-language voices!

(2) …is going to feature the original Japanese voices too, because choice is always a good thing. (Even though the Vita card can’t fit both language tracks, so we’re going to have to offer the Japanese voices as free DLC – and we’ll be providing more info on just how big a download that’ll be when we find out ourselves!) ((The PS4 version will have the Japanese voices on-disc, though, so no worries there.))

(3) …is going to have a special surprise in store for those who preorder. More on that below!

So, yes, Akiba’s Beat *will* have an English dub. Believe you me, I’ve been living and breathing this English dub for the last several months. There are nearly 22,000 voice files which have been recorded, spanning over 180 different roles, and they’re still being listened through and processed. (Or they were when this was originally written, anyway; they’re pretty much done now, save for some final tweaking.)

Does that number seem high to you? It probably should – our biggest voice project prior to Akiba’s Beat (that being Trails of Cold Steel II) had somewhere in the vicinity of 12,000 voiced lines. Akiba’s Beat very nearly doubles that, making it the single most massive voiceover undertaking in the entire history of XSEED Games – an honor which seems to keep getting passed between the Akiba’s and Trails series, since our biggest voiceover project prior to Cold Steel II was Cold Steel I, and our biggest voiceover project prior to that was Akiba’s Trip: Undead & Undressed!

As you might imagine, all that recording was pretty exhausting, but it turned out beautifully in the end, with one of the most diverse casts we’ve ever featured in any video game. We actually had numerous actors fly in from Texas to record for us (which they seemed happy to do, on account of recording partially taking place during the hottest time of summer!), resulting in a pretty great mixture of LA and Texas talent that helps keep the game sounding fresh the whole way through.

Our lead character, Asahi Tachibana, is voiced by the first of our Texas actors: Mr. Anime himself, Chris Patton – a man who’s done only a select few video game voices in his day, but who has now played a lead protagonist with ~5,700 lines, making this among his largest roles to date. Auditioned partially because he voiced a similar role in the anime “Welcome to the NHK,” Chris delivered a knockout performance that exceeded our expectations, adding a touch of snark and a heaping tablespoon of genuine heart to his every read. By the end of his three weeks in the studio with us, he pretty much WAS Asahi Tachibana – he’d gotten the role down so thoroughly pat that he was regularly breaking 120 lines recorded per hour, simply because his reads were so perfect the first time around that retakes were basically redundant.

The game’s female lead, Saki Hoshino, was voiced by the ever-talented Erica Mendez, whom my coworker Kris kind of wanted to voice her as if she truly believed she were Batman, whereas I was thinking more along the lines of Daphne Blake from Scooby-Doo. What we got was somewhere in the middle, and it’s pretty much perfect – as in, not only perfectly matched with the character’s personality, but also with her Japanese voice, as no other character in our entire dub cast sounds as much like a 1:1 analogue to her Japanese counterpart. It’s honestly kind of eerie how close the two voices are – especially considering we started recording before we’d actually heard the game’s Japanese voices, so this happened entirely by chance!

The next main cast member on the roster was Riyu Momose, a.k.a. Mippity-Mop, the 14-year-old bunny-themed idol singer. We once again called upon Texas for this voice, casting the wonderfully talented Tia Ballard, who delivered a very sweet, wholesome performance that sounds every bit as precious as the character she played. The other Texans all told us that Tia is pretty much renowned for being as close to a real-life Disney princess as you can get, and… yeah, when we finally met her at the studio, that assessment proved entirely apt! She was a pleasure to work with, and I can’t imagine anyone will be disappointed with the results.

Next in the male cast was the role of Yamato Hongo, the party’s whipping boy. His whole deal is that he’s “secretly” an emo anime otaku – by which I mean, it’s plainly obvious for everyone to see, but he firmly denies it, so every other character just CONSTANTLY rips into him. Robbie Daymond took up the mantle, and brought the perfect amount of pure smuggy assness to his performance, bringing Yamato to life in ways we never thought possible. You can look forward to an excellent card-game battle scene with him that was basically played (expertly) as the nerdiest Yu-Gi-Oh match imaginable. An amazing performance all around from a very talented actor!

Moving right along, the role of the tsundere Gothic lolita girl (if you don’t know Japanese cultural archetypes, I’m sorry for the terminology dump, but it really is the most succinct way of describing her!) Kotomi Sanada is played by the one and only Cherami Leigh, who brought a certain… raw violence to the role that really sells every line. We auditioned numerous characters for this game, and Cherami is one of the few for whom we heard the audition and pretty much just chose her on the spot – there simply couldn’t be a more perfect Kotomi.

And in what is perhaps the biggest deviation from the original Japanese voice, we cast Ed Bosco as Reiji Shinomiya, the 28-year-old reclusive computer whiz with a perpetual “it’s complicated” relationship status and a general sense of world-weariness about him. As mentioned above, we began recording before we even had a chance to hear the Japanese voices (one of the travails of working on a game that’s still in development!), so we based all of our casting decisions solely on each character’s personality. In Reiji’s case, the character constantly regards himself as an “old man,” and comes across as a battle-hardened badass who’s ready to take on the world if he has to, but would rather just laze around and build himself a new PC if he had any say in it. So, naturally, we went full-on growly badass with his English voice, utilizing Ed’s low end with liberal use of gravel. The Japanese, on the other hand, went full-on bishounen (pretty-boy). Different takes, but both sound great, if you ask me!

Flash over to the final main party member, Mizuki Aihara – Asahi’s childhood friend, who sort of serves as a general foil for Asahi’s boundless apathy. Constantly even-tempered and fastidious, Mizuki is everything Asahi isn’t, yet the two of them couldn’t get along much better… at least, at first! But as the game progresses, their relationship is strained a bit (DRAMA!), so we needed someone capable of very subtle and precise emotional turns to play this role. The man we tasked with that job was Ray Chase, and Ray absolutely delivered, giving a true tear-jerker performance. His dog, Milo, was in attendance during recording as well, and really, really wanted to get in the booth with him!

(Ray IS in this photo, we swear! It’s just kind of hard to see him due to the reflection of our director in the window. Hi, Kirk!)

On the antagonist side of things, we cast Mick Wingert as “Boss,” the mysterious swagger-fueled punk who leads the Akihabara Freedom Fighters (which have no relation to the Akiba Freedom Fighters of Akiba’s Trip fame) in their struggle against any and all things delusion. Funny story here: I did the initial translation for this game, with Kris on editing. Boss was very clearly written as a classic Japanese street punk in the original text, so I did my best to convey that in the English… but the fact is, I *suck* at writing punks. So when Kris got ahold of my files, he saw what I’d written and immediately interpreted it as “cowboy.” We had a good laugh about that at first, but then realized… it actually works! So Mick’s take on Boss is basically a scrawny-nerd-turned-cowboy-street-punk in Japan. Which is, as you might imagine, pretty magical to hear!

The enigmatic “man in pink,” Kanon, was given to the one and only Todd Haberkorn to bring to life… and bring him to life, he did! Kanon needed to sound threatening, but also soothing… mysterious, but also approachable. And Todd immediately stepped up to the plate, delivering a performance that I swear is inadvertently a near-perfect voice match for the Cardassian tailor-come-spy, Garak, from Star Trek: Deep Space Nine. Which, if you’re familiar with Garak, is basically everything we could possibly have hoped for (because Garak rules!).

And our final main cast member, Pinkun – the floating pink puff-ball who has a thing for maids and idol singers, constantly calls Asahi “dingus,” and seems to address everyone but Saki with a certain level of smug superiority – was played by yet another Texas actor in her first ever video game role: Brittney Karbowski. Known for 11 years’ worth of stellar anime performances, this was her doorway into the realm of video game voice-acting, and as director Kirk Thornton put it, “You said this is your first video game? Yeah… It won’t be your last.” Brittney’s performance was nothing short of wonderful, giving Pinkun a real sense of gleeful obnoxiousness that’s hard to balance just right so it’s actually entertaining and endearing as opposed to grating. But she did it, and she did it in such a way that it seemed almost effortless! We hope to work with her again in the future – along with everyone else we’ve named above, for that matter!

…But wait just a moment. What is that in Brittney’s hand?

 That… would be Pinkun.

Which players who preorder Akiba’s Beat at select retailers (we’ll provide you guys a list soon, we promise!) will be getting as a preorder bonus.

PREORDER PLUSHIE, Y'ALL!! Isn’t he cuuuuuuute?!?!

…Whew! OK, this is getting kind of long now. But before signing off, I just wanted to share two more photos of voice actors we took during recording, to round out the Texas constituency. These aren’t actors who played primary characters, but they are actors who flew in from Texas to record for us, so it seems only right to give them a shout-out and let them know how much we appreciate their efforts!

First up, we have the incredibly talented Alexis Tipton, who played the dual roles of Hazuki Aihara (Mizuki’s proactive and generally filterless sister) and Moé Suzumori (the perfect ideal of an Akihabara maid who struggles to maintain her own impossibly high standards). Alexis was able to play these two roles with aplomb, distinctly separating the two voices and giving them both the attention they deserved to elevate each respective character. Some of my personal favorite lines in the game come from Hazuki Aihara, and I couldn’t be more pleased with Alexis’ sterling performance!

Finally, we have Justin Briner, who flew in to record the role of Megane Taro. Megane Taro is essentially idol singer Riyu Momose’s biggest fan, and a genuinely nice person amidst a sea of relatively creepy otaku – and Justin’s own inherent niceness definitely flavored the character, making all of Mr. Taro’s appeals to his fellow otaku come across as wholly genuine and rather moving. This was our first time working with Justin, but hopefully won’t be our last, because he was an absolute pleasure to record.

There were many, many other talented actors who also passed through the studio during our two months of recording (the game has over 180 voiced roles, after all!), but we only got photos of the main cast + Texas actors, so those have been our main focus thus far. We’d like to stress, however, that everyone we worked with was a delight, and while we don’t plan on revealing any other actors at this time, we know a few have already talked about their involvement with Akiba’s Beat on Twitter and other social media outlets, and others will likely follow suit in the future. And we want to thank each and every one of you for your hard work, as well as the good people at Cup of Tea Studios, the wonderful directors we worked with, and our gracious hosts Michelle and Eddie (as well as little Eddie and the dogs!).

It’s been a whirlwind, but a wonderful experience overall, and I’m grateful to have been a part of it. Hope you guys are ready for an awesome dub once the game is released in Q1 2017 (not to mention a SUPAH-CUTE pre-order plushie!).

Also, hey, if you’re reading this in time, why not head on over to our Twitch channel at https://www.twitch.tv/xseed_games? We’ll be streaming the game at 3:30 PST / 6:30 EST today (though if you miss it, don’t worry: we’ll post a recording of it to our YouTube channel at https://www.youtube.com/channel/UC4jtViMLgZ1GY-_jCmImWIg sometime next week), showing off some of the voices in action and, for many of you, providing your very first look at this upcoming Akiba experience.

And if you came here FROM our Twitch stream… welcome! Why not read some of our other blogs? We talk about a lot of cool stuff on here! ;)

Take care, everyone!

 -Tom

The Writer’s Notebook: How to Get the Most Out of it.

If you’ve been following my blog for awhile, you know I am a huge fan of notebooks. I believe in them. I use them almost daily and have filled up more than a few of them. Today, I’m going to be sharing what you actually should be writing down in that notebook to get the most out of using it. 

  • It is not a diary. It’s fine if you want to keep a diary, but a writing notebook is not a diary. If you had some great idea you jotted down that you’re searching for, you might not want to find it if it’s jammed between two heartfelt entries your not in the mood to revisit. Sometimes, if I am emotional, I do write in my notebooks, but it’s fairly rare and it’s not going to keep me from sharing my notebook with whatever friend wants to look at it.  
  • Jot down pretty phrases or descriptions. If you liked the way you’ve been describing something in your head, jot it down. Put it in your writing notebook. 
  • Same goes for ideas for future projects. If you can’t sit down and start writing right away, write it down in your notebook. You can always go back to it or type it up later, but that way the idea is in a form you can return to later. 
  • Great idea for a scene? Play around with it on the page in your notebook . Try writing scenes you have in your head and see how they work. You might end up just typing them up word for word later, but at least they’re on the page. 

In my notebook, I number all entries. I write down the date. I even usually describe the weather. Then I start writing whatever I need to write. Entries can be short. Sometimes there are doodles. There is no perfect process, but you find a way to make it your own and make a system that is going to help you. Sometimes it helps to add tabs to the pages, or mark them somehow if they are pages you want to come back to to work on later. I tend not to do that because I carry my notebook everywhere and tabs would just be one more thing to get snagged on something. 

That’s another big thing. I carry my notebook almost everywhere I go. It lives in my purse, my backpack, the crook of my arm. It is probably the tool I use most. 

Victuri One Shot - Celebration

Pairing: Victor x Yuri

Fandom: Yuri!!! On Ice

Word Count: 2701

Note: Set after episode 5. Just a quick idea I discussed with a friend.

Keep reading

My Thoughts About Jacksepticeye’s “SAY GOODBYE” Halloween Video

SAY GOODBYE: https://www.youtube.com/watch?v=CcGpACOXxMo

Jack’s channel: https://www.youtube.com/channel/UCYzPXprvl5Y-Sf0g4vX-m6g


I needed a place to share my thoughts on how amazing this video was.

To start off, I did not catch any of the hints leading up to this last October video. I thought the face cam glitches and other spooky Antisepticeye edits were just for the scares. Then SAY GOODBYE is uploaded. My mind was BLOWN. I swear, there are absolutely no words to describe how perfect it was.

First, Jack’s acting was so good, it didn’t even feel like acting. I knew he was acting, but he really made me question myself! I think the nosebleed scene was where I started questioning if all the coincidences were real, and just the editing was fake. Logically, I KNEW it had to be fake blood. But, the way Jack just laughed it off, saying “I never get nosebleeds! Haha, what a coincidence for this time of year!”, that gave me instant chills up my spine. What if he isn’t faking this? Don’t even get me started on the random noises, and how Jack just deadpans the camera at the end and “dies.” Gosh, Jack did SO WELL. Again, words can’t describe it. It was too good!!

Second, Robin’s editing was spot on! That’s the level of editing I want to achieve one day! All this month, the camera glitches and little easter eggs in videos were very well done. I loved it! Robin really upped his game throughout this month. He really showed off what he could do in this particular video, though. Like, DAMN, the way he created Anti’s appearances as a static-hologram-thing and the strange shadow on the door…SO GOOD! Seeing all the cuts and scenes come together was amazing. I loved how choppy it was, with the static lines as if it was falling apart, and how Anti comes in while Jack is killing himself and how REAL it looks. I seriously thought the video would end there, with Jack’s lifeless body encasing the pumpkin, and it would cut to black. No, it was even better than that. I jumped when Anti came up laughing at the camera. One of my favorite parts was the voice changing and when Anti said, “…but you just watched.” Honestly, it gave me Undertale vibes and reminded me of the Genocide run. How the player just wants to see what it’s like, how even Flowey references the audience watching it all happen…it perfectly fits in with us watching Jack’s videos. We wanted to see these Anti clips, these glitches, just to see what it’s like, and we didn’t do a thing but watch. Oh, and the 15 seconds of a black screen and silence, that was a fantastic way to end this spooky video. Seriously, props to Robin! He really went all out for this; I admire how beyond he went, and I really appreciate it. 

The final thing I want to touch upon is the aftermath video, “Happy Halloween!” (https://www.youtube.com/watch?v=iODdNMA0ZCU). First of all, I tip my hat to Jack on delaying the video. It really got me spooked. I wondered if he was going to upload a second video at all! Secondly, I LOVE the fact that Jack didn’t want to create a canon Anti for the channel. He used all these different ideas from the community and incorporated them into Anti. I love it so much. I love how much Jack really pays attention to us. When he was thanking the community for what we’ve created, I wanted to stop him and say, “No, Jack, thank YOU for listening! Thank you for doing all of this!” He didn’t have to make this video. Him and Robin didn’t have to do those little spooky glitches and easter eggs. But they did. They led us up to this finale. I really, really appreciate how much effort they put in. It was so worth it in the end. And in the aftermath video, you can tell how much Jack loved putting it all together. Gosh, I can’t say “thank you” enough. I love everything Jack does, I love all of Robin’s editing, I love everything these two have done. 


*sob story coming through* 

Jack’s videos have helped me through terrible days and they make me smile when the depression doesn’t want me to. I swear, when I watch Jack’s vlogs, I actually feel like I have a reason to live. I should live to achieve my dreams and I should be happy. Seeing how much effort Jack puts into his videos and into the community, it motivates me so much. Not only Jack, but the many YouTubers and bands that I love and follow; I’ll probably ramble about them in separate posts in the future, but this post is about Jack. You can see how much Jack loves doing this, and he’s always so honest and genuine about what’s going on. That’s the kind of person I could only wish to be. 

Again, words seriously can’t describe how well-put this spooky video was. I can’t congratulate Jack and Robin enough on their hard work. Everything leading up to it was fantastic. I loved it, and I know the rest of the community did as well.

Thanks guys. Thanks for everything you do. Thanks for listening to us.

Thank you.

Read It Wednesday

What is this week 5? Look at me go!! All right, y’all know the drill, here are some wonderful fics I’ve read this week! (if you don’t see a series in here please note that I’m behind, but will catch up eventually and please be on the lookout for it in future Read it Wednesdays) Again, everything is under the cut because these are getting long! (and I love it)

Keep reading

wordsofmysoul1878  asked:

Hi! I really love your account and I was wondering if you have any tips for writing? For nanowrimo I've been writing a book and I would like to know if you have any tips when stuck in the middle of a scene? Thank you ❤❤

Ah, yes! Thank you!

Since I haven’t started writing yet, I’m still planning and have a long while to go, I’m going to try and give you my best that i have figured out so far.

If it’s writer’s block-

Many have a delicate way of dealing with it, but I think it’s the type of writer’s block that matters.

If you can’t find something out during research, or you’ve been stuck on something for hours, take a break.

If it’s just a small scene you are reluctant to write, kick writer’s block out on it’s ass. (Excuse me.)

Just push through and write, even if it’s terrible. You can edit later-that’s the good part.

If it’s a plot problem-

Before your write any more, figure out every little detail about that scene before you write it, and throw in the necessary amounts of foreshadowing.

Don’t write a scene if it isn’t important later, if it doesn’t have some kind of purpose. If it’s a scene you can’t cut, but doesn’t have a very large purpose, give it a purpose. Add a subplot, make that scene tie into the story in many ways unimaginable.

If it’s simply a “how to write this” or description problem-

I find what helps me with this is reading a book, just a small scene as similar to yours as you can get. Descriptions can be tricky sometimes, so for example, if you are looking for the perfect way to describe a color, google, “different types of red.” It helps. Or, maybe try a whole new style you haven’t tried before, like switching POV’s, or maybe, if you are writing third person, try first, or vice versa.

If you are having problems bringing the scene to life-

Focus on the details, and the aura of what your descriptions are giving off.

For example:

She ran away from the wolf, as the wind blew through the moon-lit forest surrounding her.

Then, to make it a little ( a lot) better ,

As the winds howled like whistle on lips through the moon-lit trees, chilling her to the bone, she let the desolate sound carry her legs farther and farther away from the wolf she so desperately sprinted from, and closer the stars that rested upon the hill that will signal her escape-if the rolling mounds would only come into sight, she could hope. If only.

Maybe try:

I felt the prickled branches tear into my arms and face as I sprinted, but I wouldn’t stop, couldn’t stop. Everything was a blur, a whistle through the moon-lit trees, the darkness coming from behind. I didn’t let myself think about any of it, or that would be what truly took my life-not the monster, the winds, the stars above, the loss of location-what would end me would be my own mind.

So I ran, and blocked everything, both physical and emotional, out, and kept it far, far away, letting the rustles through the air carry the distractions away towards the canopy above, and me towards the starry sky and glittering hills that would be my salvation in the utter darkness of the forest.

Those are not-in-the-moment scenes, mostly just descriptions of what happened within the chase through the forest, if you wanted to describe every little detail, it would be more like this:

My breathing was a mere rasp, and the jagged gashes in my arms from the thorns bled endlessly, but, despite the barking pains in my twisted ankles, I kept up the blurring pace. I swatted a prickled branch away from my face, earning a searing cut on the palm of my hand. The wind stirred the leaves up above within the canopy, which hid the moon and stars above.

There’s a million different ways to bring a story to life, and give a synopsis on a story even in a little paragraph. Hey, the more the merrier-the more words, the better! Go crazy-readers love it. Don’t get too carried away, though-lose yourself in the words, but stay conscious of how they will sound, and what more information the reader will perceive from even a single paragraph.

If you don’t know what to write next-

Well, what do you think would make the story a little more spiced up? Any more crucial scenes you want to add? Maybe a scene that stands for nothing more but important foreshadowing? Maybe a scene to show character development, or a single chapter that illustrates the characters daily, weekly, monthly schedule? (Most of the time, go by weeks-if you condense a month into one chapter, important details can be missed.)

Here’s an example:

The months went by in a dull frenzy, and nothing really changed throughout the days; she simply went to breakfast, trained for hours, spent a couple in the gardens picking roses, and then back to her chambers.

Laylia could tell the seasons were beginning to change-the leaves slowly transformed from bright green to deep hues of red and orange, and occasional streaks of yellow, and from dwelling on the trees to resting on the neatly-manicured palace grounds. She also didn’t fail to notice the shift in everyone’s mood, from normally energetic, to a laid-back aura filling their presence.

It’s mostly a don’t-forget-the details kind of thing, I suppose.

If it’s because you have a dislike for the scene-

Well, of course there will be scenes you absolutely hate with a passion-such as characters death. However, it should be alluring to describe it-when you are the one writing, most have an idea for their characters future, so you hold the power.

To write an important, emotional scene such as death, you have to take the power away from yourself for a moment. Be the reader-what emotions did the writing spark, what information and current situations did you derive from it?

Normally, I suppose you would take your own power away during the editing process, when the novel goes from messy letters to elegant sentences, but if you are having trouble writing a scene or can’t make yourself move on, try editing it right then and there. Maybe make some changes, or if it’s simply a dislike for how you wrote it, rewrite it.

As a fanfiction writer, I have more challenges than a normal writer-we already have the world and characters established, because the authors did that for us. However, that often makes us forget to continue establishing everything and everyone-that’s what fanfictions are about, write? (You see what I did there?)

So keep that in mind-you are establishing everything, think of it as laying out the base of story, so buildings may be constructed on it.

Now is the time to include every little detail; keep in mind your characters personalities, maybe if they are quiet they are a lot more descriptive, or if they are more openly-expressed, they don’t have as detailed descriptions.

Take the character description types from Veronica Roth-I learnt that from her.

I hope this helped! If you’ve got any more questions for me, anyone out there, I’d be happy to answer them to the best I can at this time in my writing career;)